RMIT's graduates go on to work in leading brands, create independent practices and conduct research for challenging approaches to fashion
RMIT’s approach to teaching fashion design seeks to imagine future commercial contexts, create ethical design propositions and use cross-disciplinary design strategies to drive global and competitive fashion design practices. Graduate capabilities are design, communication and presentation methods and strategies for fashion garments, products, accessories, objects, artefacts, materials, spaces and experiences of and for the body.
'HIGH TIDE' is inspired by Australian vintage surf and swimwear combined with dystopian scavenger attire. The collection aims to envision an amphibious world, full of insects and mangroves. It features construction garments that can be useful when dredging through a muddy, sun bleached and flooded environment.
Drawing from re-constructivism art theory, this collection restructures garments to create new significance and emotional connection. It allows wearers to take part in the creative process by rearranging, turning inside-out or removing components. Inspiration comes from a mix of Polish folk costume and urban spaces.
Inspiration for the 'Fluid Fragments' collection is drawn from refashion and sustainable practices. Materials are from local bridal boutiques and warehouses and include bridal fabric silks, chiffon, lace, polyester chiffon and lining, and marl jersey. The fabric is tie and shibori dyed in hues of orange, mauve and green.
The designer’s collection inspiration comes from their Lithuanian heritage, manifested through the use of garments as a vehicle for story-telling and cultural preservation. Historical references, family artefacts and Soviet-style design have been used to inform fabrications, colour palette, silhouettes and print designs.
Anna’s collection addresses comfort through hand crafting clothing for relief. It focuses on how harnessing positive emotional and sensorial attributes into clothing enhance a garments significance amongst human relationships. Inspiration comes from Anna's personal connection with exploring feelings through making.
Carolina explores movement through tangible textures, stretch and weight in her collection titled ‘Eros’. The feminine silhouettes are a combination of strips, knots and drape on the bias. They are an extension of fluidity, further emphasised through the contrasting integration of metal embellishments.
‘Lumen’ is a collection that is inspired by the art of escapism and articulating an indeterminate emotion through the use of print and various fabric mediums, each representing an alternate reality. This reflects on the designer’s desire to escape through design when coping with the diagnosis of her chronic illness.
Edie’s collection holds an amalgam of esoteric, theatric and hallucinogenic visuals influenced by Kenneth Anger’s films and witchcraft. It features threatening and villainous characters embedded with positive subliminal symbols, as a response to how witches and some deities/mythical creatures are misunderstood as evil.
‘Reload’ is a collection that aims to eliminate the barrier between traditional masculinity and femininity through gender-fluid design. Inspiration comes from ’70s décor and swimwear merged with the concept of a transitional modulation system. Materials were sourced from local business’ in response to the impact of COVID.
Emily's collection is gender-neutral streetwear and is made from recycled materials and natural dyes. The designer sees her collection as a collaboration between the ‘mad max genre’ retro motorcycle clothing, parts, and protective gear with ‘mother nature’, subtle, environmentally kind natural dyes.
‘Rejects Reborn’ is a collection that seeks to explore a collision between the extraordinary and the everyday. Using reflective found material, the aim of the collection is to turn 'junk' into something valuable and give materials another life, all with a focus on translating everyday objects into a more awe-inspiring setting.
Gia Phuc Ly
‘Hybrid’ represents a conversation between Eastern and Western cultures. The collection exposes the fascination of couture and Vietnamese streetwear during the 1950s–1970s. It features Vietnamese art and hybrid mascots from the Nguyen Dynasty juxtaposed with tailored wool garments seen on vintage couture runways.
Using cyanotype as a photographic printing technique, Julia’s collection explores the sentimentality of worn clothing. The designer is inspired by the childhood clothing made by her Nonna and the attachment she has for each piece. Expect shades of blue and clean silhouettes reminiscent of quadrant photographs.
Titled ‘Ma Void’, this collection aims to create garments through presenting them in spaces where fashion is performed such as the runway, a gallery or a studio. By using design construction techniques and utilising parts of second hand garments the designer sought to give each piece a new purpose.
‘Asian-esque!’ is a resort ready-to-wear collection which encompasses elements of tacky sportswear (especially boxing and basketball attire) and "exotic" dress stereotypes. Liam takes inspiration from Asian-Australian visual culture and mixes classic menswear tailoring, queer dressing and industrial sewing techniques.
The ‘Looming Luxe’ collection uses weaving methods re-imagined on the body to create one-off garments, using sustainable fashion practices. This project distinguishes itself with a methodology that uses the body as a loom. Yarn used to create these pieces are made of material offcuts, such as t-shirts and rope.
Developed from the notion of sustainable luxury, Rochelle's collection explores the emotional and physical connections to textiles and garments. Each piece works to re-instil memories and sentimentality to the textiles we embody with patchwork floral motifs, knitwear and hand techniques to aid this process.
Ruth's collection titled 'Vibrations' is inspired by how materiality can be used to create unnatural shapes on the body by rethinking the materials. I was initially inspired by a second-hand straw hat I found unravelling and was encapsulated by the distorting shapes it created when combined with stretch fabrics.
The ‘Folklore’ collection is a fusion of the designer's traditional culture and her interest in pattern making and draping of contemporary fashion. Batik or wax-resist dyeing technique is a key element Ruth's technique and fabrication such as canvas, cotton drill and silk georgette support in creating sculptural silhouettes.
Zoe May Sutherland
Titled ‘Happiness Was a Colour’, Zoe’s collection is an intuitive exploration of colour through knitwear. The designer found inspiration in a box of handmade items from early childhood, including Barbie clothes lovingly knitted by her grandmother. Each piece was then developed by hand or with a vintage knitting machine.